Home Editor's Pick “Taxi Driver”: Travis Bickle’s psychology. Robert De Niro’s character in “Taxi Driver,” is often the pop. A walking contradiction. Jul 21, 2015 In Martin Scorsese’s Taxi Driver (1976), Travis Bickle is described as “a walking contradiction.” This description of the villainous protagonist.
Download Dbx Driverack 260 Software For Mac. • • • • • • Story Dynamics 8 of the 12 essential questions Change Main Character Resolve Travis achieves some catharsis through the purging of criminals’ blood in the climactic slaughter scene. Cooking Mama Iso Palo on this page. Crypter Cracked Iphone. Though he remains a loner with psychopathic tendencies, he’s no longer obsessed with the details of the immoral activities on the street, and he’s able to interact with Betsy without stalking her. Whereas earlier he complains: TRAVIS V.O.: Twelve hours of work and I still cannot sleep. At story’s end, he tells Betsy: TRAVIS: I just sleep more, that’s all. His infamy has changed him from a misfit into a media darling and hero. Stop Main Character Growth Travis needs to stop being God’s policeman—obsessing over the kind of people he dislikes doing their thing, on the streets of New York City or in the back seat of his cab—and get a life of his own. Do-er Main Character Approach When he can’t sleep nights, Travis goes out and gets a job driving taxis; attracted to Betsy, he walks into her office and volunteers in order to be near her; seeing a stick-up man holding up the deli, he shoots him; feeling down, he goes to Wizard for advice; etc.
Linear Main Character Mental Sex When Travis decides to act on the idea of “True Force” that’s been building up in his brain, he gets “organezized” and breaks the job down into steps: he buys an arsenal of guns; he does physical exercise; he practices at the shooting range; he clips articles on Palantine; he practices drawing his weapons; he cuts his hair into a Mohawk; etc. Decision Story Driver Travis’ decision to become a taxi driver, especially one who will work anywhere, exposes him to lowlife “scum”: PERSONNEL OFFICER: We don’t need any misfits around here, son. TRAVIS: You kiddin? Who else would hack through Bed-Sty or Harlem at night? PERSONNEL OFFICER: You want to work uptown nights?
TRAVIS: I’ll work anywhere, anytime. I know I can’t be choosy. (Schrader, p. 5) Travis’ decision to pursue Betsy leads him to volunteer; Betsy’s decision to go to a porno movie with Travis makes her reject him, which in turn ramps up his alienation; Iris’ choosing of Travis’ taxi to seek refuge in brings her and Sport to Travis’ attention; Sport’s decision to pay Travis with the “dirty” $20 bill leads Travis to pay back the “wages of sin” with death; etc.
Optionlock Story Limit Travis first seeks fulfillment in a woman, Betsy. When that fails, he goes to Wizard for counseling. When he has no answer, Travis can’t take it any more and seeks an outlet in violence, trying to kill Palantine. This option fails and he wreaks mayhem on those in the pimp business, finally running out of options when surrounded by police. Success Story Outcome Travis succeeds in making progress in his mission to clean up the streets by killing Sport and his cohorts, and by getting Iris out of prostitution and back to her parents in Pittsburgh. As the Screenwriter notes: “The slaughter is the moment Travis has been heading for all his life, and where this screenplay has been heading for over 100 pages.
It is the release of all that cumulative pressure; it is a reality unto itself. It is the psychopath’s Second Coming.” (Schrader, p. 117) Good Story Judgment While Travis is still a lonely guy, and one with psychopathic tendencies, at story’s end he is a more relaxed taxi driver.
He’s no longer writing dangerous thoughts in a diary, has elevated status amongst his peers, and is a hero to the media. He’s even able to accept Betsy for what she is, “a star-fucker of the highest order,” and no longer has the desire to stalk her. But his last desperate glance at her in the rearview mirror begs the question—for how long? Overall Story Throughline Synopsis “Taxi Driver ushered in a new era of graphic moviemaking as social criticism. Paul Schrader’s screenplay depicts the ever-deepening alienation of Vietnam veteran Travis Bickle, a psychotic cab driver who obsessively cruises the mean streets of Manhattan. [.] Taxi Driver is a seamless and provocative portrayal of the nightmarish disintegration of a wounded American psyche.” (Video blurb, Columbia Tristar Home Video, 1987.) Overall Story Backstory “In the early seventies, the system seemed out of control—it could not hold the loyalty of the public.